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“Arabesco Infinito” by Alejandro Viñao


“Arabesco Infinito” by Alejandro Viñao

Performed by Kunihiko Komori & Georgi Videnov

Mallet Selection for this Piece:


Robert van Sice Signature (M114)

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Medium. The most popular model in the series, this mallet covers the entire range of the marimba and produces a singing sound that is full of life.


Robert van Sice Signature (M112)

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Soft. Produces a broad sound with tremendous projection that is dark, but not muffled.


Terry Gibbs Signature (M32)

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This line offers a rattan handled mallet for every dynamic range on vibraphone or marimba. Cord wound heads.


Arabesco Infinito (2006)

I first thought of writing an ‘arabesque’ for marimba and vibraphone as I was hearing my son Matteo practice Debussy’s second arabesque at the piano. Shortly afterwards I considered Debussy’s piece in the context of ideas about repetition derived from classical Islamic art, Chaos Theory and fractal geometry.

In traditional Islamic art, ornamental textures are often constructed from a single geometrical figure multiplied in all direction in one plane creating an infinite pattern. In Arabesco Infinito I attempted to emulate this kind of construction.

Similar ideas of ‘creative unpredictable repetition’ are found in fractal geometry and chaos theory. However, chaos theory also introduces the idea of attractors, defined as states towards which a system or process may evolve. What I found fascinating in this concept was that although a system may be moving towards an attractor, it may appear to be doing so in a chaotic way. This suggests that order may be created out of chaos and that perhaps an act of creation may need chaos as a necessary condition. I wanted to have a similar kind of motion in my piece, a directionality that at times might seem chaotic but was always driven by the repetition of an initial cell or pattern. I wanted to create music where a very simple rhythmic and melodic figure – and arabesque- would evolve in unpredictable ways but always in the direction of a node or point of attraction. These points of attraction appear in the piece as ‘grooves’, repetitive periodic or quasi periodic rhythms that our body may comfortably settle into. The movement or gravitation from one groove to the next is the central process of the piece, its complex story, in short, what the piece is about.

In Arabesco Infinito I was interested in the notion that repetition (that dreaded monster of contemporary culture) can be mindless and even dehumanising or truly creative in a profound and mysterious way.

  – A.V. December 2006


Alejandro Vinao (b. April 9, 1951) studied composition with the Russian composer Jacobo Ficher in Buenos Aires. In 1975 he moved to Britain where he continued his studies at the Royal College of Music and the City University in London. He has been resident in Britain since then. In 1988 he was awarded a PhD. D. in composition at the City University.

In 1994 Alejandro Viñao was awarded the Guggenheim fellowship in composition. His piece Apocryphal Dances was premiered by the BBC Symphony Orchestra in London in 1997. The same year Viñao was invited to Japan to present his music in a Portrait Concert. Later that year, his chamber opera Rashomon was premiered in Germany. This work was commissioned by ZKM for the opening of their new building in Karlsruhe. Since then Rashomon has been produced in Paris, London and Gothenburg.

Viñao has written music for a wide range of musical genre including opera, music-theatre, choral, instrumental and electro-acoustic compositions. He has also been involved with the creation of multimedia works, has composed music for some 20 films and produced several radio programmes for the BBC.


Kunihiko Komori is an active performer internationally, who has successfully integrated marimba with tradition of the classical mainstream exclusively programming repertoire composed specifically for the instrument.

Mr. Komori has appeared at the WittenerTage fur neue Kammermusik, WDR-Funkhaus Koln, Internationale Ferienkurse fur Neue Musik in Darmstadt, Centro Cultural de Belem in Lisbon, Kimmel in New York, Musen de Arte de Macau in Macau, and Takefu International Music Festival and has given world premieres of numerous new works for marimba. His performances have been aired by numerous broadcasting stations including WDR, NHK, and by Deutschlandfunk fro his concert in Koln in 2010.

Mr. Komori has won numerous awards including the first prize in the Crane New Music Festival competition. Additionally, he has been the only marimbist ever invited to perform at the Tokyo Opera City for its “B to C (Bach to Contemporary) Recital Series”. In 2008, Mr. Komori was selected as one of solo artists at “2nd NEC Gala Concert”.

His debut solo CD Marimbist was released from Fontec label containing “Reminiscence”, a piece commissioned to composer Toshio Hosokawa and his only work for solo marimba. Mr. Komori played together with an internationally recognized marimbist Robert van Sice in the Japanese premiere of Grace, a marimba double concerto written by Martin Bresnick’s which live recording is included in the composer’s portrait CD My Twentieth Century.

Mr. Komori is also active collaborating with other artists in live performances such as the Noh dancer Tsunao Yamai for the internet collaboration project sponsored by Intel Japan, contemporary dancer Salva Sanchis and Georgia Vadarou for the concert series sponsored by City of Musashino, and media artist Jun Kosaka among many others.

Mr. Komori is also an active educator and lecturer of marimba visiting renowned institutions such as Curtis Institute of Music in the U.S.A., Hochschule fur Musik Karlsruhe in Germany, Aveiro University in Portugal, and Bilbao Conservatory in Spain, Hong Kong Academy in Hong Kong among many others including international festivals. Mr. Komori is currently a faculty member at Kyoto City University of Arts.

Mr. Komori received a Bachelor’s Degree from the Eastman School of Music with a Performer’s Certificate. He completed his Master’s Degree and Graduate Performance Diploma program with at Peabody Conservatory of Music where he received full scholarship. His teachers include John Beck, William Moersch and Robert van Sice.

Georgi Videnov is a young percussionist who specializes in solo, orchestral and chamber music performance. Mr. Videnov has participated in a number of national and international competitions, both as a soloist and as a member of a chamber ensemble. Among his numerous awards, he has received First Prize several times at the Pendim and Young Virtuosos competitions in Bulgaria, as well as the Competition for French Music Perfomance in Plovdiv, Bulgaria. In April 2008, Mr.Videnov performed as a soloist with the Bulgarian National Radio Orchestra.

As an orchestral player, Mr. Videnov served as a percussionist/ timpanist of the Hyogo Performing Arts Center Orchestra for their 2012 – 2013 season conducted by Yutaka Sado in the Hyogo Prefecture of Japan. Mr. Videnov has taken part in three concert seasons with the New Symphony Orchestra in Sofia, Bulgaria under the baton of Rosen Milanov and Petko Dimitrov. He has attended the Pacific Music Festival, Brevard Music Festival, Norfolk Chamber Music Festival, Music: Landschaft Westfalen Festival playing under many world renowned conductors, including Sir Neville Marriner, Fabio Luisi, Krzysztof Urbanski, Peter Oundjin, James Conlon, Krzysztof Penderecki, Keith Lockhart, Joanne Falletta, Matthias Bamert, Hubert Soudant and John Adams. He has also worked with the legendary pianist and conductor Leon Fleisher in performances of Gyorgy Ligeti’s chamber operas “Aventures” and ”Nouvelles Aventures.” As a chamber musician, Mr. Videnov is a member of the Yale Percussion Group and was part of the Yale in New York Concert Series taking place at Carnegie Hall performing Hindemith’s Kammermusik and Stravisnky’s Histoire du Soldat. Earlier this spring, he attended the Phoenix Winter Chamber Music Festival where he performed on a series of concerts featuring clarinetist David Shifrin and violinist Ani Kavafian.

Mr. Videnov was born in Sofia, Bulgaria and has begun percussion instruments lessons at the age of six. He has graduated from the National Musical School in Sofia, Bulgaria where he has studied with Maria Palieva, and, in 2012, he completed the Bachelor of Music Degree program studying with David Skidmore and the world-renowned contemporary musician, Robert van Sice at the Peabody Conservatory in Baltimore, MD. While at Peabody, Mr. Videnov was the recipient of the Zildjian Scholarship. Shortly after graduation, Mr. Videnov became an endorser for Vic Firth’s Young Artist Program. He is currently continuing his studies with Prof. van Sice at the Yale School of Music pursuing a Masters of Music Performance Degree as a recipient of the Stephen and Denise Adams, and the Henry and Lucy Moses Scholarships.

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